Terminator Genisys Review and Blu-ray Features
1 July 2015
Behind the Scene and other Major Plot Points
The first installment of a new trilogy of “Terminator” films.
This is the first film that Arnold is not “Terminator” in the end credits. Rather, he is named “Guardian”
Come with me if you want to live
Although the phrase “Come with me if you want to live” is spoken in all four Terminator films previously (Kyle Reese- The Terminator (1984), T-800- Terminator 2: Judgment Day (1991), John Connor- Terminator 3: Rise of the Machines (2003) and Kyle Reese-Terminator Salvation (2009)), this entry marks the first time Sarah Connor uses this dialogue.
This is the first film in the series to actually show characters being sent back in time, and the machine that does it.
Nice to meet you
In the second trailer, where the Terminator meets Kyle Reese and says “Nice to meet you!” as he makes a big funny smile, Sarah states that she had been teaching the Terminator to blend in. The scene was written as a nod to a scene that was cut fromTerminator 2: Judgment Day (1991), where John teaches The Terminator to smile so that he can be more human and blend in; the Terminator imitates a man talking on a phone, but the smile is imperfect and crooked and John insists that The Terminator should try practicing in a mirror. This scene can be found when watching the Blu-Ray Skynet Edition of Terminator 2: Judgment Day.
Why did the John Connor Terminator try and kill Kyle and Sarah? Wouldn’t that erase him from existence?
Sarah brings up this fact to the John Connor Terminator. JCT explains that he believes that due to them all time traveling that they are separate from events of the past and future, therefore he could kill them without erasing himself from existence; although this may have just been part of the programming from Skynet. JCT had already ensured Skynet’s creation, so it no longer needed John Connor. Skynet had tried killing Sarah and John Connor several times and always failed. So by Skynet perhaps planting the idea that killing Kyle Reese and Sarah before John was born wouldn’t affect him, it allows them an opportunity to erase John Connor from existence and ensure its victory as was the original plan. This is one of many time travel paradoxes that the Terminator series addresses. The grandfather paradox suggests that you could not travel back in time and kill your own grandfather before you were born, because this would erase you from existence. However, if you are erased from existence, you were never able to travel back in time to kill him. Likewise, John Connor shouldn’t be able to send his father back in time to conceive him. Nor could Skynet send terminators back in time to ensure its own existence. Another theory is that by traveling through time, you are separate from any events you might change. Meaning you could travel back in time to before you were born and kill your grandfather, that would alter the current timeline, but you would not be affected as changing the past will not alter the original timeline or any other, essentially making them alternate universes and realities. This is the theory posited in the film, and explanations from Terminator: The Sarah Connor Chronicles confirm this.
Who sent back the T-800 and T-1000 to 1973?
This is deliberately left ambiguous. “Pops” states in the film that whoever did so deleted their identity, presumably to protect themselves from Skynet. Whether it will be revealed in a proposed sequel remains to be seen. However, we can assume that the “good” T-800 and the T-1000 are from further in the future of Kyle’s original timeline. Let’s theorise that Kyle’s trip to the past has been foreseen by Skynet based on their knowledge of the earlier, alternate timelines. They would appear to know that sending a T-800 to 1984 to kill Sarah Connor is doomed to failure (just as John knows that Kyle will fall in love with Sarah). Skynet appears to proceed with this identical plan, purely so John Connor will anticipate this and be in a specific location so that he can be trapped and transformed by Skynet. It is likely that, following John Connor’s transformation, he sent the T-1000 back to 1973, while what remained of the resistance sent the reprogrammed T-800 to the same time period. It’s also possible that Sarah and/or Kyle are both alive in the future, due to the ever-changing timelines. So it’s entirely possible one, or both of them sent back “Pops” to 1973.
RT/Meta Critic Review
I was pleasantly surprised. I feel that they created a new universe with these characters and they fit nicely. I didn’t understand everything (it’a inevitable in time travel gilma) but at least I was amused when watching. The Terminator still has it.(Widaly M/ RT)
Terminator Genisys features a rock-solid 1080p transfer. There’s some interesting contrasts in the film that see it switch from pervasively dark and gray to bright and cheery with a slicker, cooler tech sector façade present near the end. The film’s dreary post-war open looks great. Black levels are deep, skin and armor details are as precise as can be considering the surrounding bleakness, and purple laser blasts and bright orange fireballs contrast nicely against the prevailing darkness. Scenes taking place in the past — the film’s bulk — offer a precisely detailed world. Brighter, better lit scenes reveal plenty of fine facial textures, whether human skin or carefully applied makeup that shows battle wounds or the exposed Terminator endoskeletons. Various bits of cool-blue technology and slick accents in the Cyberdyne officers are sharp and precise. The bright blue “Genisys” countdown readouts are strikingly colored, too. Flesh tones never appear wayward and black levels are nicely deep and detailed. The digital source leaves the movie looking a hair flat in spots, particularly in its darker moments, but the transfer handles what comes its way with a professional polish. Trace amounts of banding appear in a few places but prove of little concern
Terminator Genisys arrives on Blu-ray with a Dolby Atmos (core Dolby TrueHD 7.1 lossless) soundtrack. This review pertains only to the 7.1 mix. The sound is expectedly dynamic and all-invovling. Right from the get-go, the Paramount stars push through the stage with a crisp, well defined heft and effortless movement along the stage. The recreated nuclear war that opens the film offers tangible heft to missile launches and explosions, again with plenty of intricately moving sound parts that fill the stage with the horrors of modern warfare. As the action shifts to a climactic battle in the war between man and machine, various explosions deliver healthy, meaty wallops while laser blasts push through the stage, Hunter-Killer drones zip around overhead, and various other pieces of wartime din surround the listener. In the film’s “past” timeframes, the action remains well defined with various crashes, crunches, and flying debris creating immersive, detailed, and precisely chaotic action. Gunfire is crisp and heavy. Music enjoys excellent, speaker-vanishing clarity and wide placement. Dialogue is precisely prioritized and enjoys a few occurrences of natural reverberation when the environment demands.
Terminator Genisys contains three featurettes. A DVD copy of the film and a voucher for a UV/iTunes digital copy are included with purchase.
- Family Dynamics (1080p, 15:51): Cast and crew discuss the franchise, the international cast, characters, and the qualities the performers brought to their roles.
- Infiltration and Termination (1080p, 25:29): A detailed look at shooting in New Orleans and San Francisco, including New Orleans standing in for 1980s Los Angeles, shooting the future war sequences, set construction, crafting some of the film’s key moments in its most important sets, some more details on performances, and more.
- Upgrades: VFX of Terminator: Genisys (1080p, 15:07): As the title suggests, this piece looks at the detailed process of crafting some of the film’s most challenging visuals, including the future war, digitally creating a young Arnold, T-1000 effects, and some of the new surprises the movie has on tap.